Includes We Are Mam /"Free Love" from forthcoming Legendary Sound Research 017, Vinyl out in December.

Note:

All dj sets & other radio or podcast sets are programmed with the permission of the owners.

(Demo Short Clips - not downloadables)

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.

All dj sets & other radio sets are programmed with the permission of the owners.

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.

Monday, 24 November 2014

Reel to reel edits and medleys by the hand of John Morales. He made them between 1977 and 1982 and they were then released on acetate by the legendary NYC Sunshine Sound studios.

Note:

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.

All dj sets & other radio or podcast sets are programmed with the permission of the owners.

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.

Thursday, 20 November 2014

Jungle Brothers were formed through the high school friendship of Nathaniel "Afrika Baby Bam" Hall and Michael "Mike G." Small. Mike brought family friend DJ Sammy B into the mix and the Jungle Brothers were born. Members: Nathaniel Hall, Michael Small, and Sammy Burwell.

Jungle Brothers are Mike Gee, Afrika Baby Bam, DJ Sammy B.

When it comes to thinking about the ‘Daisy Age’ of positive old school rap, the name De La Soul invariably pops up in people’s heads, with the group’s legendary LP ‘3 Feet High and Rising’ synonymous with the bouncy, day-glo notion of ‘hippie-hop’. Fewer seem to be acquainted with that other trio who pioneered the genre, the Jungle Brothers. Jungle Brothers pre-date De La Soul in being disputably the first hip-hop collective to heavily embrace jazz samples, filling their first record ‘Straight Out The Jungle’ with cuts from greats as diverse as The Headhunters, Grover Washington, Jr., Manu Dibango and Eddie Harris. As well as their affinity for jazz, the shear breadth of their code of reference was staggering, with post-disco oddballs Liquid Liquid, power-pop powerhouses Electric Light Orchestra and Muslim civil rights activist spiel poet Jalaluddin Mansur Nuriddin all struggling for prominence amid the mellow flows.
The far-out beats and rhymes of this first LP helped the trio accrue a cult following, and although sales were disappointing, Warner Bros. signed the band for sophomore effort ‘Done By The Forces of Nature’. More excitingly artistically, the three became well known enough to form a coalition of artists in thrall to the Zulu Nation hip-hop of their hero Afrika Bambaataa. Christening the collective ‘Native Tongues’, De La Soul, Queen Latifah and A Tribe Called Quest all eventually pulled rank. The major label release of ‘Done By The Forces of Nature’ was a commercial failure, but a critical success, with collaborations with the burgeoning ‘Native Tongues’ bolstering a widescreen afrocentric treatise, incorporating a panoply of samples and overseen with fresh house production. This shaking of hands between house and hip-hop still echoes today, with the commercial chart side of rap and R&B infatuated with the sounds of continental dance.

''Behind The Bush''

More importantly, the politics and black positivism of the LP never feel righteous or dominating, as the multi-cultural sampling and invigorating, funky beats offer an innocent, danceable urban naturalism more palatable than the almost militant gospel of more hardcore groups cut from the same cloth such as Public Enemy. Creating African pop with a definite sense of the New York around it, the group’s life-affirming, spiritual sound was as conscious as it was groovy, as street-wise as it was funky, and as thought-provoking as it was ass-shaking. What’s more, rifling through their samples will invite you to a whole universe of afrocentric soul, funk and R&B. Too long have they lain in the shadow of those they influenced, so check them out.

Review by Steve Huey (AMG):
The landmark opening salvo from the Jungle Brothers, Straight out the Jungle was also the very first album from the Native Tongues posse, which would utterly transform hip-hop over the next few years. That alone would be enough to make it a groundbreaking release, but Straight out the Jungle also contains the musical seeds for a number of soon to be dominant trends. Their taste for jazzy horn samples helped kickstart the entire jazz-rap movement, and their concurrent James Brown fixation was one of the first to follow Eric B. & Rakim's lead. Plus, the group's groundbreaking collaboration with legendary house producer Todd Terry, "I'll House You," is also here; it paved the way for numerous hip-house hybrids that shot up the dance and pop charts over the next few years. The lyrics were often as cerebral as the music was adventurous and eclectic, appealing to the mind rather than the gut -- and the fact that rap didn't necessarily have to sound as though it were straight off the streets was fairly revelatory at the time. "Black Is Black" and the title cut are some of the first flowerings of Afrocentric hip-hop, but the group isn't always so serious; "I'm Gonna Do You," "Behind the Bush," and the sly, classic "Jimbrowski" are all playfully sexy without descending into misogyny. To modern ears, Straight out the Jungle will likely sound somewhat dated -- the raw, basement-level production is pretty rudimentary even compared to their second album, and makes the jazz-rap innovations a bit difficult to fully comprehend, plus the album ends on several throwaways. But it is possible to hear the roots of hip-hop's intellectual wing, not to mention a sense of fun and positivity that hearkened back to the music's earliest Sugar Hill days -- and that's why Straight out the Jungle ultimately holds up.

Although they predated the jazz-rap innovations of De La Soul, A Tribe Called Quest, and Digable Planets, the Jungle Brothers were never able to score with either rap fans or mainstream audiences, perhaps due to their embrace of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of jazz samples -- each of which has been the sole basis for the start-up of a rap act. Signed to a major label for 1989's Done by the Forces of Nature, the JB's failed to connect on that album -- hailed by some as an ignored classic -- or the follow-up, J Beez Wit the Remedy.
Mike Gee (born Michael Small; Harlem, NY), DJ Sammy B (born Sammy Burwell; Harlem, NY), and Baby Bam (born Nathaniel Hall; Brooklyn, NY) came together as the Jungle Brothers in the mid-'80s and began their recording career at the dance label Idler. The result of the sessions, Straight Out the Jungle, was released in early 1988. The album's Afrocentric slant gained the Jungle Brothers entry into the Native Tongue Posse, a loose collective formed by hip-hop legend Afrikaa Bambaataa, including Queen Latifah (and, later, De La Soul and A Tribe Called Quest). The album's most far-out cut was "I'll House You," a collaboration with house producer Todd Terry and an early experiment in what later became known as hip-house.
Though Straight Out the Jungle had not sold in large quantities, Warner Bros. signed the trio in 1989 and released a second album, Done By the Forces of Nature, that same year. Though it was issued around the time of De La Soul's groundbreaking 3 Feet High and Rising LP and gained just as many positive reviews, the album was overlooked by most listeners. The Jungle Brothers' chances of mainstream acceptance weren't helped at all by a four-year absence after the release of Done By the Forces of Nature, inspired mostly by Warner Bros.' marketing strategies. Finally, in the summer of 1993, J Beez Wit the Remedy appeared, complete with a sizeable push from Warner Bros.; unfortunately, the large amount of promotion failed to carry the album. Obviously not learning from their earlier mistakes, Warner Bros. also delayed the release of the group's fourth album, Raw Deluxe, until mid-1997. V.I.P. followed in early 2000, and All That We Do was released in 2002.

All dj sets & other radio sets are programmed with the permission of the owners.

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.

Monday, 17 November 2014

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.

Samples & Covers:
Jungle Brothers sampled "Mango Meat" on their song "Straight Out The Jungle" on their album Straight out the Jungle in 1988.
Public Enemy sampled "Two Sisters Of Mystery " on their song "By The Time I Get to Arizona" on their album Apocalypse 91... The Enemy Strikes Black in 1991.

The impossibly funky hit Mango Meat kicks off this classic that charted in October 1973, while the hit Love Song brings the boil back to a simmer.

Released in 1973 this album would chart number six on the Billboard Top Soul Albums charts.

Reviews:
It lacked the delicious hooks and tight funk of Composite Truth, but Just Outside of Town was as solid and confident a piece of music-making as the band ever accomplished. The single "Mango Meat" is a tough Latin funk number with some inspired group harmonizing, and Mandrill stretched out with a pair of love songs, "Never Die" and the aptly titled "Love Song," the latter beginning with a few minutes of atmospheric bliss that boasted unrealized cinematic/soundtrack possibilities. "Fat City Strut" moves back and forth between blasts of brass-powered funk and the sweet seduction of Latin percussion and a vibes solo. The distorted funk monster "Two Sisters of Mystery" is another classic, one that later enticed producer Gary G-Wiz to sample it for Public Enemy's "By the Time I Get to Arizona." The last two songs were very uncharacteristic for Mandrill, one a bluesy/country song with a pop gloss, the other an ambling instrumental led by an acoustic guitar and including a few out-of-place synthesizer shadings. It certainly wasn't Mandrill going out on top (for an album, or for its period at Polydor), but it certainly summed up the promise of one of funk's most courageous bands.

Saturday, 15 November 2014

Formed by Robert "Kool" Bell, his brother Ronald Bell and a bunch of their New Jersey teenage friends in the mid-60s (then called the Jazziacs), Kool & the Gang played traditional jazz in regional venues for several years, slowly morphing their style to incorporate emerging funk sounds of Sly and the Family Stone and James Brown. They were signed by the De-Lite label in the early 70s and gathered a small but loyal national following (particularly for their 1971 release Live at the Sex Machine). The group's fortunes exploded in 1974 with Wild and Peaceful, an infectiously raw album that spawned three smash hits, "Funky Stuff," "Hollywood Swinging," and "Jungle Boogie," all featuring great instrumentation and lyrics virtually shouted by the group. However, as quickly as they rode to fame, Kool & the Gang faded, their rough sound appearing out of place against the slick, dance-oriented sounds that began to dominate popular radio in the late 70s.

Kool & the Gang was an afterthought in the music world in 1979 when they brought in the honey-sounding lead James J.T. Taylor and pop/jazz producer Eumir Deodato for one last gasp, a shiny dance album called Ladies Night. Deodato simplified and sweetened the group's jazz stylings in a heavily produced package, fronted by Taylor's irresistible tenor voice. It was an across-the-board smash, leading to two top hits, the title cut and the midtempo "Too Hot." It was also the beginning of a nearly unprecedented string of top 10 pop and soul hits for the group that would make Kool & the Gang the top selling soul group of the 80s. Ladies Night was followed by the even bigger Celebration, the joyous title cut of which became the theme song of countless sports teams in the 80s and one of the most played songs of the past 25 years. The next five years brought hit after hit, including chart toppers "Misled," "Cherish," "Take My Heart," "Joanna," "Fresh" and "Let's Go Dancin'." The infectious innocuousness of their music sometimes went to a silly extreme ("Get Down On It"), but the group clearly created a catalogue of enjoyable, well performed cuts, both during Deodato's tenure as producer and after they took over the production of their albums in 1983 -- songs that have generally aged well. Their 1987 album, Forever, was another smash, but also provided warning sign that the fresh sounds Kool and the Gang introduced in 1979 had run their course and had begun to sound formulaic.

In 1987 Taylor left the group to pursue a modestly successful solo career (he had one major hit with "All I Want Is Forever," a duet with Regina Belle), and the group continued on but never had another chart hit. They spent the next decade on the oldies circuit before Taylor rejoined for a 1996 reunion tour and the album State of Affairs, a extremely enjoyable disc (and the group's strongest lyrically) that was unfortunately ignored by both Pop and Soul radio.

All dj sets & other radio sets are programmed with the permission of the owners.

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.

All dj sets & other radio or podcast sets are programmed with the permission of the owners.

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.

All dj sets & other radio sets are programmed with the permission of the owners.

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.